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Virtual Reality As a Phenomenon Of University of Linköping Arts and Sciences Faculty VIRTUAL REALITY AS A PHENOMENON OF ART Supervisor: Jan Willner Student: Laurynas Drazdauskas Linköping 2006 Title VIRTUAL REALITY AS A PHENOMENON OF ART Author LAURYNAS DRAZDAUSKAS Abstract In this essay results are developedontwo different levels.First,it is shown indemonstrationthat a phenomenological analysis onthe lines of Roman’s Ingarden’s study of works inliterature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it canthenbe pointedout that: i) soundis separable from the scene,but using sound VR becomes enriched; ii) the mainrole inliterature is left for the imagination,while inVR we findrichnessinconcretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (basedonthe phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysisofVRandthesearchforthestatusofVR inart. Key-words VIRTUALREALITY,SIMULATOR,VIDEOGAME,ART,INGARDENR.,AESTHETICAL VALUE. 1 TABLE OF CONTENTS ACKNOWLEDGEMENT ..................................................................................................3 ABSTRACT .....................................................................................................................4 INTRODUCTION..............................................................................................................5 1. THE COGNITION OF THE VIRTUAL REALITY.......................................................7 1.1. Interaction – the main Condition for the Cognition of VR. ......................................................................... 7 1.2. An Attempt to cognize the VR: the Layers of the Work of Art. ................................................................ 10 2. IS VIRTUAL REALITY (SPECIFICALLY SIMULATOR AND VIDEO-GAME) A FORM OF ART? ............................................................................................................18 2.1. The Aesthetical Values of VR. ...................................................................................................................... 18 2.2. VR – as a Product and a Work of Art.......................................................................................................... 21 CONCLUSIONS.............................................................................................................22 BIBLIOGRAPHY............................................................................................................23 INTERNET SOURCES ..................................................................................................24 2 ACKNOWLEDGEMENT I am very grateful to my supervisor, docent Jan Willner let me to stay for the other semester in the University of Linköping. I am thankful for the idea to use the system of Roman Ingarden in my work, also for the time, guidance and directions writing this essay. Also I want to say thanks a lot to my parents Rita and Vytautas, who always kept up the spirit in hard times. Thanks to my little son Benetas, who was waiting for the return of his daddy. I owe you people so much! 3 ABSTRACT Inthis essay results are developedontwodifferent levels.First,it is shownindemonstration that a phenomenological analysis onthe lines of Roman’s Ingarden’s study of works inliterature can be applied to Virtual Reality works, such as professional-simulators and videogames. In particular it canthenbe pointedout that: i) soundis separable from the scene,but using sound VR becomes enriched; ii) the mainrole inliterature is left for the imagination,while inVR we findrichnessinconcretization. Second,it is argued indiscussionthat works inVR canbe qualifiedas works of art.These electronic works may have all the aesthetical qualities (basedonthe phenomenology of Roman Ingarden)oftheworksofartinthetraditionalsense. So,that paper has twoobjectives: ananalysis of VR andthe searchfor the status of VR in art. KEYWORDS VIRTUALREALITY,SIMULATOR,VIDEOGAME,ART,INGARDENR., AESTHETICALVALUE. 4 INTRODUCTION The term “Virtual Reality” 1 was coinedby JaronLanier in1986.Specifically this term was createdfor a technological phenomenon,which“…encompasses a range of interactive computer environments,from text-orientedonline forums andmultiplayer games tocomplex simulations that combine audio; video,animation,or three-dimensional graphics; and scent…A successful VR environment offers users immersion,navigation,andmanipulation.” 2 Equivalent to“VR” can be used such terms as “Virtual Environment”, “…computer-generated simulation of a real environment or experience. Also called visual simulation (VizSim)… or …artificial reality, syntheticenvironment.” 3 VR includes suchelectronic works as videogames andsimulators (whichare not just games any more). Nowadays simulators as well as electronic games have a broad appliance in the practical,educational field.They are appliedinmedicine andinmilitary spheres andare uses for the purpose of the training of special skills (like flight simulators help for pilots to gain some experience) or for the development of mental abilities (e.g. strategic video games).VR is also used in psychological inquiry. ”Psychologists collaborate with computer scientists to design virtual reality trainingsystems for use insafety-sensitive occupations.” 4 Andour researchwill be concentratedon theepistemological aswellason theaestheticalaspects ofVR. Thus the first objective , the epistemological one, of this work is the cognition of the computer’s created reality (specifically videogames and their sequence – simulators). The concept includes three levels of the cognition: perceiving,interpreting andindividualizationof VR. The cognition should help to find the aesthetical values of VR. This might answer our question: May a workof Virtual Reality - suchas videogame andsimulator –be calledworkof art?Thatis the second objective ofthisessay. We are going touse the analysis of the workof art of the most prominent philosopher inthis field – Roman Ingarden. We will be using his books mainly “The Literary Work of Art” and “The Cognition of the Literary Work of Art”, also “Four Critics: Croce, Valery, Lukacs, and 1 Thereinafter we use shortening for the “Virtual Reality” – “VR”. 2 The Columbia Encyclopedia, Sixth Edition . Encyclopedia Article Title: Virtual Reality . New York. 2004. P. 49737 3 John C. Briggs, Virtual Reality Is Getting Real: Prepare to Meet Your Clone. “The Futurist” (Volume: 36. Issue: 3. Publication Date: May 2002.) P. 34+ 4 Robert A. Baron, Psychology (MA: A Viacom Company, 1998) P.110 5 Ingarden” by RenÉ Wellek.The mainideas and the concept of the layers of the literary workof art let us identify and interpret structures of Virtual Reality plus it will help analyze the aestheticalvaluesofthe VR. 6 1. THE COGNITION OF THE VIRTUAL REALITY 1.1. Interaction – the main Condition for the Cognition of VR. A personas beingpartofthenaturenecessarilycreatesandtameshis/hermilieu.It wouldbe mistakenarguing“VirtualReality”as a brandnew phenomenonofthe20 th century.The germsof VR can be foundinthe early ages of the humankind,whenmanleft the cave and saw something inthe surrounding that made impressionfor him/her,andthenhe/she begantodraw images of the animals onthe walls of the cave.The image was takenfrom the spectacle andrealizedonthe wall of the cave thus becoming not real,but a copy, animitationof the real object whichwe can call - virtual image. “Even prehistoric cave paintings gave the viewer something of the experience of seeing animals that were not actually there” 5.Alsowe may infer here that these first paintingsannouncedtheadventofthevisual art. Time has passed,virtual image progressedtosign; symbol andthe groups of these symbols became writtenlanguage,language whichis a tool for communicationandinteraction,a tool that helps understanding other people.Images of the animals becoming symbols were like the living andthe meaning of these symbols wasn’t only conventionbetweencommunities of people.These symbols were carrying “being”.Humans createdhomes for them: surrounding andsoul,he/she was trying tomake their worldinthat still alienuniverse; and one of the solutions was art.Art was not only as implementation of oneself, but even more, it was an attempt to understand, interpret the place andessence of oneself being inthis world. Images of the animal onthe wall of the cave of its creator weren’t single-acting; it was alsoa dedicationtoother persons,tothose whoare cominginthe future,thatistosay acommunicationandinteractionwithothers. As we see now,not only language, but alsoany form of art is a dialogue. A workof art utters,speaks tous as well as the direct speechof person.A workof art always has a meaning, but it is hiddenor shouldwe say coded,sowe may finda key to“unlock”,toreachit.This key could be an interaction, a communication with a work of art because without communication there will be no cognitionpossible. In VR,playing a videogame you shouldaccept the rules, otherwise interaction will be broken between the player and the game. In the other words if 5 David Deutsch, The Fabric of Reality (London: The Penguin Press, 1997) P. 99 7 someone wants get toknow something/someone,he/she first of all shouldfall inlove (andlove is aninteraction) withthisobject(thatisanidealof theAncientGreeks’ philosophers). In the artificial environment - dialogue, interaction can be simulated literally. We can communicate withsynthetic characters,surroundings
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